Mariángeles Soto-Díaz

Most of my work has implicit connections to my native country,
Venezuela, where oil production made the promise of modernism more tangible,
and its failure more poignant, than elsewhere in Latin America. I ruminate on the future of abstraction while glancing back at Venezuela's collapsed
modernist project - its chromatic remains - through the fracturing prism of
contemporary conditions.

I use the language of abstraction as a way to materialize and connect ideas. Conceiving
abstraction as the critical and poetic language of potential allows me to pierce the detached geometries
of ordering structures, making them responsive and more pliable.

I work with paint, paper, ink, slides, spices, UPC codes and vinyl tape. But
my favored material is paradox: the promise and perils of utopian abstraction,
political formalisms, universal specificities, and the underlying order of chaos.